• Korean Journal of Cognitive Science
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• v.17 no.4
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• pp.357-373
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• 2006

Virtual reality (VR) provides a virtual experiment (VE) context consisting of information presented to the senses of the user. The user perceiver and interprets the VE context, and then naturally recognizes a level of realism in the VE. Presence is often thought of as the sense of 'being there' in the n. Presence includes overall feelings about the information conveyed from a virtual avatar to the user. Therefore, there must be brain mechanisms for integrating sensory information about presence.'Feeling of presence' is related with the user's cognition and perception about information on communication through medium. Thus 'feeling of presence' may characterize perceptual mechanisms in the brain. We studied these mechanisms by presenting a VR that consisted of an avatar telling a story about a social conversation. We performed covariance analysis on subjective brain activity (fMRI) during the story presentation with a presence score. The data analysis revealed that activity in several brain areas was correlated with the presence store. A positive correlation was shown in the right lingual gyrus, right cuneus, left lingual gyrus, right fusiform gyrus, left inferior temporal gyrus, anterior cingulate cortex and right posterior cingulate cortex of the brain. This study showed the brain mechanism to be related the feeling of presence and brain activities in our subjects, using VR to communicate information.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.6
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• pp.1080-1095
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• 2023

Three-dimensional virtual fitting has become a trending practice in the fashion industry because of its productivity benefits, allowing garments to be virtually worn by avatar models without physical production. This study analyzed the variables influencing clothing pressure in both real and virtual fittings to expand the potential utility of pressure data derived from the latter. For this purpose, six sets of compression garments were created by combining two types of tricot fabrics and three types of reduced-pattern tops, with the clothing for real and virtual fittings having identical dimensions. Focus was directed to analyzing the correlation among clothing pressure, surface area deformation, and the mechanical properties of the fabrics. In real fittings, clothing pressure was influenced by multiple factors, including garment design, pattern reduction ratio, body shape, and fabric properties, consistent with existing knowledge. In virtual fittings, however, only the digital mechanical characteristics of the fabrics significantly influenced clothing pressure. The findings suggest that a more reliable implementation of clothing pressure in virtual fitting programs necessitates an approach that considers the complex structural information of garments.

• Proceedings of the Korea Multimedia Society Conference
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• 1998.10a
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• pp.161-167
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• 1998

오늘날 네트워크 기술의 발전과 인터넷 보급이 대중화됨에 따라, 가상현실 기술로 구축된 인터넷상의 가상공간에 3차원 가상현실 기술을 접목하므로서, 가상현실이 제공하는 몰입감과 임장감을 체험하고 원거리의 네티즌과 동일한 가상환경을 공유하면서 상대방의 움직임과 동적 위치를 확인하고 의사 전달을 수행하고자 하는 요구가 발생하고 있다. 현재의 인터넷상에서의 웹은 HTML문서에 기반을 둔 정적인 2차원의 정보만을 제공하고 있다. 그러나 이러한 2차원의 인터넷에서도 3차원 정보를 표현할 수 있는 수단을 제공하는 VRML이 등장하였다. 이에 본 논문에서는 이 언어로 표현된 3차원 가상공간에서의 사용자간 이벤트를 중계하는 이벤트 중계 서버와 중계 서버들을 관리하는 위치 서버, 그리고 이들 서버와 통신하는 클라이언트와 인터넷상의 다른 세계를 관리할 수 있는 모듈을 설계하고 구현하였다. 또한 이를 통하여 가상공간에 참여하는 사용자를 나타내는 분신인 아바타를 통하여 각자의 가상공간을 체험하고 다른 참여자와 대화할 수 있는 시스템을 구현하였다.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1997.11a
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• pp.134-139
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• 1997

가상 현실 세계에서 정보교류의 수단으로 자신의 정보를 제공하거나 또다른 정보를 수집하는 등의 정보교류와 자신을 표현하고자 하는데에 기존의 2차원의 캐릭터보다는 3차원의 캐릭터를 이용하여 사용자의 대리인으로 분신(Avatar)을 사용하는 3차원 영상을 주제로 하는 많을 연구들이 진행되고 있다. 본 연구에서는 가상현실 세계에서의 분신이 좀 더 현실감이 있는 자연스러운 행동과 상호작용을 보이기 위해서 사람 모습을 닮은 분신을 연구하였으며, 실세계의 자연스러운 정보들(손 동작, 몸 동작)을 분신에 적용하여 가상세계에서 분신의 행동양식과 상호작용이 가능하고 시각, 청각, 역각등의 다중형태의 정보들을 3차원으로 제공하고자 하는데 중점을 두었다. 이 시스템은 가상세계에서 분신을 생성하며 몇가지의 기본 행동을 가지고 간단한 방법과 실시간으로 분신의 움직임을 처리 할 수 있는 분신의 행동양식과 상호작용이 가능한 하가지 시스템을 소개할 것이다. 또한 이 시스템은 다른 기종의 플랫폼(PC, W/S)간에 다중참여자를 위하여 네트윅 환경하에서 실행 될 수 있다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• fall
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• pp.212-214
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• 2021

In a society with Covid-19 as part of our daily lives, we had to adapt ourselves to a new reality to maintain our lifestyles as normal as possible. An example of this is teleworking and online classes. However, several issues appeared on the go as we started the new way of living. One of them is the doubt of knowing if real people are in front of the camera or if someone is paying attention during a lecture. Therefore, we encountered this issue by creating a 3D reconstruction tool to identify human faces and expressions actively. We use a web camera, a lightweight 3D face model, and use the 2D facial landmark to fit expression coefficients to drive the 3D model. With this Model, it is possible to represent our faces with an Avatar and fully control its bones with rotation and translation parameters. Therefore, in order to reconstruct facial expressions during online meetings, we proposed the above methods as our solution to solve the main issue.

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.6
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• pp.354-362
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• 2006

This paper suggests a method for generating high qualify stereo video avatar to support visual communication in a CAVE$^{TM}$-like system. In such a system because of frequent change of light projected onto screens around user, it is not easy to extract user silhouette robustly, which is an essential step to generate a video avatar. In this study, we use an infrared reflective image acquired by a grayscale camera with a longpass filter so that the change of visible light on a screen is blocked to extract robust user silhouette. In addition, using two color cameras positioned at a distance of a binocular disparity of human eyes, we acquire two stereo images of the user for fast generation and stereoscopic display of a high quality video avatar without 3D reconstruction. We also suggest a fitting algorithm of a silhouette mask on an infrared reflective image into an acquired color image to remove background. Generated stereo images of a video avatar are texture mapped into a plane in virtual world and can be displayed in stereoscopic using frame sequential stereo method. Suggested method have advantages that it generates high quality video avatar taster than 3D approach and it gives stereoscopic feeling to a user 2D based approach can not provide.

• Journal of Information Technology Services
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• v.21 no.5
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• pp.107-127
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• 2022

Personal broadcasting utilizing Vtuber, a virtual creator made of 2D or 3D avatars, has recently appeared and is growing in popularity. Vtuber is a virtual person who broadcasts on the Internet using 2D or 3D avatars with real-time motion capture and computer graphics technologies. While the personal broadcasting industry utilizing Vtuber is proliferating, related studies have mainly concentrated on technical issues. Therefore, in this study, the antecedent factors that form the technical characteristics and virtual creator characteristics of Vtuber personal broadcasting are derived using the Stimulus-Organism-Response (S-O-R) model. Then the effect of these factors on viewer pleasure and satisfaction, which lead to increased paid sponsorship is to be examined. Furthermore, we investigate how this influencing mechanism fluctuates based on the avatar type (2D vs. 3D). This study contributes to empirical examinations of viewers' paid sponsorship intention in Vtuber personal broadcasting through the S-O-R model. It also offers insights that technological or virtual creator characteristics could improve viewers' pleasure, satisfaction, and even paid sponsorship.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.45-54
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• 2023

The digital age start in earnest with the widespread use of the Internet. As a digital product, virtual idols bring new value to the design and dissemination of commercial brand images. "Luo Tianyi" is the world's first avatar and VOCALOID voice bank of Chinese. It has a large number of fans in China and is widely used in brand promotion. Therefore, "Luo Tianyi" is taken as the research object. Initially, we investigated the virtual idols through books, literature on the internet and other materials. Then we discussed semiotics and theories related to culture code brand design methodology (CCBD). After that, putting the above theories into practice, combined with brand design cases, we analyzed the strategy of virtual idols in brand promotion and dissemination, at last, we have the conclusion as followed. The results show that the virtual idols, visual symbol of "Luo Tianyi" can express the Index and Symbol corresponding to the brand information according to the characteristics of the brand. As an image of cultural code, "Luo Tianyi" can present three visual images at the same time, which are contemporary, traditional and future. In addition, these three visual images are presented in a strong and weak combination, which has a positive impact on the visual communication of the brand.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 1998.06b
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• pp.55-62
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• 1998

This paper presents a method of controlling camera to present virtual space to participating users meaningfully. The users interact with each other by means of dialogue and behavior. Users behave through their avatars. So our problem comes down to controlling the camera to capture the avatars effectively depending on how they interact with each other. The problem is solved by specifying camera control rules based on cinematography developed by film producers. A formal language is designed to encode cinematography rules for virtual environments where people can participate in the story and can influence its flow. The rule has been used in a 3D chatting system we have developed.